Studio Kaname Production is most famous for its OVA works, such as Birth and Genmu Senki Leda, which seem to embody the early years of the so-called “OVA boom”. However, by 1984, the studio was already famous among Japanese otaku audiences for at least one other thing: the time it had spent subcontracting animation on other studios’ productions. Like many other bigger studios, Kaname would keep doing this during its entire existence, as it was the best way to keep employees busy and money flowing in, something particularly important for a company that was on the brink of bankruptcy during all its existence. While Kaname’s subcontracting activity in the mid-80s is very much worthy of attention, I will only focus on the studio’s earliest works here, as I am mostly interested in the way Kaname built its own “style” and identity. This means covering 3 very different series, all of which started coming out in 1982: Sunrise’s Combat Mecha Xabungle, Kokusai Eigasha’s Makyô Densetsu Acrobunch, and Tsuchida Production’s Sasuga no Sarutobi.
Following 1979’s Galaxy Express 999, Yoshinori Kanada had become one of the top animators in Japan and would go on to be an inspiring figure for many of the artists that emerged throughout the following decade. The early 80s especially witnessed what industry members at the time called a sudden “Pers-kun movement” - “Pers” being short for “Kanada Perspective”, and “Pers-kun” the (slightly derogatory) term to indicate young animators who wanted to imitate their idol Kanada. The large-scale effect of this “movement” was to make Kanada-style animation one of the defining traits of 80s anime. But if we look closer, it was anything but a given: Kanada himself had to establish a reputation and contacts, while old and new animators alike did not immediately adopt the new trend. The goal of this article will precisely be to retrace through what channels Kanada’s style exported itself outside of the animator’s immediate circle of students, and in particular in one studio: Ashi Production.
Among all the members of the Kanada school, one of the most important and original ones is probably Masami Obari. Along with Masahito Yamashita and Hiroyuki Imaishi, he probably stands as one of the more influential animators that came out of Kanada’s lineage. Obari’s career started in the middle of the 1980’s, and he is in that regard the most famous representative of what I’d call the “second-generation Kanada school”. These were animators that emerged in the late 80’s that were more influenced by Yamashita than by Kanada directly, and that specialized in dense and complex mechanical and effects animation of the kind initiated by Ichirô Itano and Takashi Nakamura. All of these characteristics perfectly fit Obari’s profile, and he is no doubt the one who stood out the most during this period.
I decided to start this series on the development of the Kanada school with Urusei Yatsura, arguably the moment when its members really became prominent and their style began to spread. But that doesn’t mean it was the starting point where everything began. On the contrary, a complete history of the Kanada school would start before that, in 1977, when Kanada created his Studio Z2. The problem is, many shows that Z2 and then Z3 worked on at the time have become quite obscure and forgotten except for hardcore super robot fans, making them hard to find; there’re also many minor animators whose names haven’t really been remembered. To exemplify these, I’ll focus on the early career of just one figure from that early period: Kazuhiro Ochi.
How did Yoshinori Kanada go from being “merely” a very talented animator to one of the most influential members of the anime industry? That’s a fascinating question, and yet one I haven’t seen much precise discussion of. The world of anime was much smaller then, but it was nevertheless a relatively fast process: in just a few years, the budding Kanada school had already its leaders, its main animators, and a flagship named Urusei Yatsura. This is a fascinating show, as it was such an important moment in anime history and saw some of the industry’s most talented creators meet. It started airing in 1981, the very start of the decade for which it would set most of the stage.